His VFX reel demonstrates a selection of industry work as well as dedication to the craft, in a career which has spanned for more than a decade.

A r t w o r k :

His artwork rarely adheres to the traditional series format of production. Mossotti juggles several concepts simaltaneuosly, sometimes mulling the details over months. As the focus and the identity of an idea becomes clearly realized, he begins painting. What remains constant is his ability to convey powerful concepts effectively using a rich and unique style. Thusly, the most appropriate way to catagorize Mossotti's work is by the context of his expressions. The subject paintings often refer to descriptive thoughts of happening. His landscapes are scenic abstractions of places both fictional and real. In either group you will find images of poignant expression and abundant imagination, relentlessly drawing you in. You can view both galleries by selecting the repesentative images or the titles of their descriptions.

Some playful and innocent memories exaggerated, others pungent scenes of interspective disection, Mossotti's subject matter wanders a world of familiar description while offering his imagination as a lens by which to see it. His common theme of sihouetted figures uses the void of information as an opened door for you to relate the experience within the context of your own life. This absence is as much a welcoming gesture as it is an aesthetic style of composition. As it is true for most artists, at the very bottom, he wants no more than to share his ideas with you and to let you see something in a way you might not have previously.

Mossotti's landscape paintings tend to move with agile footsteps from location to location. The abstractive behavior of motion is used as a perception of outside forces. The product of this function is fundamental to achieving what he calls his three laws of motion within artwork. Implied motion is designed to give depth to an image by removing its stagnate stigmata. Everything we know of is in a constant state of motion, natural forces, time and action. Emotion targets the motion of the veiwer or audience, the response. Lastly, on a compostional level, positioning subject matter within the work to explicitly direct the movement of people's eyes. If this is done correctly, a person should never feel lost, bored or that on a subconscious level they are being led away from the content of the artwork.